French Music, Culture, and National Identity, 1870-1939 PDF Download

Author: Barbara L. Kelly
Publisher: University Rochester Press
ISBN: 9781580462723
Category : History
Languages : en
Pages : 300

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Book Description
Heroism, art, and new media : France and identity formation. Unifying the French nation : Savorgnan de Brazza and the Third Republic / Edward Berenson ; New media, source-bonding, and alienation : listening at the 1889 Exposition Universelle / Annegret Fauser ; Debussy and the making of a musicien français : Pelléas, the press, and World War I / Barbara L. Kelly ; A bas Wagner! : the French press campaign against Wagner during World War I / Marion Schmid -- Canon, style, and political alignment. D'Indy's Beethoven / Steven Huebner ; Messidor : republican patriotism and the French revolutionary tradition in Third Republic opera / James Ross ; The symphony and national identity in early twentieth-century France / Brian Hart ; Transcending the word? : religion and music in Gauguin's quest for abstraction / Debora Silverman ; Jolivet's search for a new French voice : spiritual otherness in Mana (1935) / Deborah Mawer -- Regionalism. Rameau in late nineteenth-century Dijon : memorial, festival, fiasco / Katharine Ellis ; Becoming Alsatian : anti-German and pro-French cultural propaganda in Alsace, 1898-1914 / Detmar Klein ; National identity and the double border in Lorraine, 1870-1914 / Didier Francfort.

Author: Rachel Orzech
Publisher: Boydell & Brewer
ISBN: 1580469701
Category : History
Languages : en
Pages : 263

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Book Description
"This book examines the shifting attitudes toward Wagner reflected in the Parisian press during the period of the Third Reich. Paradoxically, during one of the darkest periods of French history, as the German threat grew more tangible and then manifested in the Nazi occupation of France, Parisians chose to see in Wagner a universality that transcended his Germanness. As Franco-German diplomatic relations gradually worsened in the 1930s, Wagner became an increasingly integral part of French musical culture. Parisians were unwilling to surrender Wagner to German exclusivist claims. In previous decades the French had used Wagner to symbolize a diverse array of political arguments and positions, from right-wing nationalism to left-wing humanism and egalitarianism, In the 1930s, however, the Parisian press depicted him as a universalist. Although Wagner had stood in for German nationalism and chauvinism in recent periods of Franco-German conflict, in the 1930s Parisians refused this notion and attempted to reclaim his role in their own national history and imagination. Even once war was declared in 1939 and a ban on the performance of Wagner's music was implemented, commentators insisted that it was simply a temporary measure designed to avoid public disturbance. Simultaneously, they maintained that 'music has no borders,' and that 'it is childish to mix art and politics.' The Wagner discourses that emerged from the 1930s Parisian press paved the way for the dominant Wagner discourse in the German-controlled Occupation press: Collaboration through Wagner. By a great irony of history, the concept of Wagner the universalist that had been used to resist the Nazis in the 1930s was transformed into the infamous collaborationist rhetoric promoted by the Vichy government between 1940 and 1944"--

Author: Deborah Mawer
Publisher: Routledge
ISBN: 1317121805
Category : Music
Languages : en
Pages : 254

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Book Description
This edited volume of case studies presents a selective history of French music and culture, but one with a dynamic difference. Eschewing a traditional chronological account, the book explores the nature of relationships between one main period, broadly the 'long' modernist era between 1860–1960, and its own historical ‘others’, referencing topics from the Romantic, classical, baroque, renaissance and medieval periods. It probes the emergent interplay, intertextualities and scope for reinterpretation across time and place. Notions of cultural meaning are paramount, especially those pertaining to French identity, national and individual. While founded on historical musicology, the approach benefits from interdisciplinary association with philosophy, political history, literature, fine art, film studies and criticism. Attention is paid to French composers’ celebrations and remakings of their predecessors. Editions of and writings about earlier music are examined, together with the cultural reception of performances of past repertoire. Organized into two parts, each of the eleven chapters characterizes a specific cultural network or temporal interplay, which may result in synthesis, disjunction, or historical misreading. The interwar years and those surrounding the Second World War prove particularly rich sources of enquiry. This volume aims to attract a wide readership of musicologists and musicians, as well as cultural historians, other humanities scholars and concert-goers.

Author: Katharine Ellis
Publisher: Oxford University Press
ISBN: 0197600166
Category : Music
Languages : en
Pages : 445

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Book Description
Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.

Author: Rebecca P. Scales
Publisher: Cambridge University Press
ISBN: 1316489825
Category : History
Languages : en
Pages :

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Book Description
In December 1921, France broadcast its first public radio program from a transmitter on the Eiffel Tower. In the decade that followed, radio evolved into a mass media capable of reaching millions. Crowds flocked to loudspeakers on city streets to listen to propaganda, children clustered around classroom radios, and families tuned in from their living rooms. Radio and the Politics of Sound in Interwar France, 1921–1939 examines the impact of this auditory culture on French society and politics, revealing how broadcasting became a new platform for political engagement, transforming the act of listening into an important, if highly contested, practice of citizenship. Rejecting models of broadcasting as the weapon of totalitarian regimes or a tool for forging democracy from above, the book offers a more nuanced picture of the politics of radio by uncovering competing interpretations of listening and diverse uses of broadcast sound that flourished between the world wars.

Author: Hannah Lewis
Publisher: Oxford University Press
ISBN: 0190636009
Category : Music
Languages : en
Pages : 256

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Book Description
The transition from silent to synchronized sound film was one of the most dramatic transformations in cinema's history, as it radically changed the technology, practices, and aesthetics of filmmaking within a few short years. In France, debates about sound cinema were fierce and widespread. In French Musical Culture and the Coming of Sound Cinema, author Hannah Lewis argues that the debates about sound film resonated deeply within French musical culture of the early 1930s, and conversely, that discourses surrounding a range of French musical styles and genres shaped audiovisual cinematic experiments during the transition to sound. Lewis' book focuses on many of the most prominent directors and screenwriters of the period, from Luis Buñuel to Jean Vigo, as well as experiments found in lesser-known films. Additionally, Lewis examines how early sound film portrayed the diverse soundscape of early 1930s France, as filmmakers drew from the music hall, popular chanson, modernist composition, opera and operetta, and explored the importance of musical machines to depict and to shape French audiovisual culture. In this light, the author discusses the contributions of well-known composers for film alongside more popular music hall styles, all of which had a voice within the heterogeneous soundtrack of French sound cinema. By delving into this fascinating developmental period of French cinematic history, Lewis encourages readers to challenge commonly-held assumptions about how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.

Author: Michael F. Leruth
Publisher: Bloomsbury Publishing USA
ISBN: 1440855498
Category : Social Science
Languages : en
Pages : 540

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Book Description
This volume offers perspective on modern French society and culture through thematic chapters on topics ranging from geography to popular culture. Ideal for students and general readers, this book includes insightful, current information about France's past, present, and future. France is the country most visited by international tourists. Aside from clichéd images of baguettes and the Eiffel Tower, however, what is French society and culture really like? Modern France is organized into thematic chapters covering the full range of French history and contemporary daily life. Chapter topics include: geography; history; government and politics; economy; religion and thought; social classes and ethnicity; gender, marriage, and sexuality; education; language; etiquette; literature and drama; art and architecture; music and dance; food; leisure and sports; and media and popular culture. Each chapter contains an overview of the topic and alphabetized entries on examples of each theme. A detailed historical timeline covers prehistoric times to the presidency of Emmanuel Macron. Special appendices offer profiles of a typical day in the life of representative members of French society, a glossary, key facts and figures about France, and a holiday chart. The volume will be useful for readers looking for specific topical information and for those who want to develop an informed perspective on aspects of modern France.

Author: Samuel Llano
Publisher: Oxford University Press
ISBN: 0199858462
Category : History
Languages : en
Pages : 295

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Book Description
English with excerpts in Spanish and French.

Author: Helen Julia Minors
Publisher: Routledge
ISBN: 1351331094
Category : Music
Languages : en
Pages : 260

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Book Description
This book appraises the contribution of Paul Dukas (1865–1935) to a wide variety of French musical practices. As a composer, critic, artistic collaborator and teacher, Dukas was central to the fin de siècle and early twentieth-century Paris musical scene (and more broadly to the French scene). Significantly, his compositional style mediated tradition through the modern language of his present, while his critical writings pioneered a new mode of musical discourse in the French press. Of further interest are Dukas’s professional relationships with iconic figures such as Gabriel Fauré and Claude Debussy, and his role in fostering the next generation of French composers. In addition to mentoring famous names such as Olivier Messiaen and Tony Aubin, he staunchly supported his female students, notably Elsa Barraine, Claude Arrieu and Yvonne Desportes. This unique essay collection offers a panoramic perspective on a comparatively neglected French musician. Paul Dukas: Legacies of a French Musician traces two aspects of his work: Part I treats Dukas as a composer, thinker and artistic collaborator; Part II constructs his intellectual legacy as seen in his creative and pedagogic endeavours. This book is essential reading for anyone interested in fin de siècle and early twentieth-century French music, women in French music, music criticism and composition education in the Paris Conservatoire.

Author: Louis K. Epstein
Publisher: Boydell & Brewer
ISBN: 178327669X
Category : Music
Languages : en
Pages : 256

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Book Description
Challenges the longstanding perception that modernist composers made art, not money, and that those who made money somehow failed to make art.Patrons have long appeared as colorful, exceptional figures in music history, but this book recasts patrons and patronage as creative forces that shaped the sounds and meanings of new French music between the world wars. Far from mere sources of funding, early twentieth-century patrons collaborated closely with composers, treating commissions for new music as opportunities to express their own artistry. Patrons developed new pathways to participate in music-making, going beyond commissions to establish ballet companies, manage performance venues, and establish state programs. The impressive variety of patronage activities led to an explosion of new music as well as new styles and -isms, indelibly marking the repertoire that this book examines, including a number of pieces frequently heard in concert halls today. In addition to offering new perspectives on well-known French repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.nch repertoire, this book challenges conceptions of patronage as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons. as a bygone phenomenon. Complementing a dwindling cast of aristocratic patrons were new ranks of music publishers, impresarios, state bureaucrats, opera directors, and others capitalizing on their savings, social connections, and artistic vision to bring new music into the world. In chapters on French discourse around patronage, aristocratic commissions, the stimulus provided by the interwar dance craze, music publishing, the Paris Opéra, state intervention in French musical life, and transatlantic musical exchanges, the book blends cultural history with primary source study and music analysis. It not only improves our understanding of French musical life and culture during the early twentieth century but also supplies us with essential insights into the ways modern music emerged at the intersection of music composition, aesthetic and national politics, and the creative labor of patrons.